taken off from a website, contents with regards to a viewer's comment upon watching the Chun Yu Fen Fen msia competiting groups.

一個好的樂團，張力音響變化要能做得很大，
演奏的音樂才有變化，而關鍵就是指揮，你得去要求，
有的樂團小聲到不知幹甚麼，完全聽不出音樂旋律的進行，
而有的樂團又都太大聲沒啥變化。我覺得小聲在樂團當中非常難演奏，
因為在小聲的範圍當中，又要保持音樂的流動及走向，
同時在小聲當中其實還有更小聲或是稍微漸強的細微變化，這些都只能靠著指揮的耳朵及手勢來帶動，
所以指揮真的是一門很難的藝術，不是沒道理的。


而多餘的花俏動作，也會影響團員視覺，更重要的影響演奏，
可能因手形動作影響樂團發出的聲音。而最重要的是指揮的眼神，
有幾隊指揮一直在看譜，明明會背了，卻一直看譜，在台上比賽難免緊張，
但是指揮的眼神我相信有安定團員的作用。
我看到幾隊，團員演奏非常的有自信，甚至投入到讓我感動，
我相信指揮是一個樂團的靈魂，指揮的眼神與團員有交流，
就算樂團演奏的技術不是最強的，但在當下所演奏的音樂一定是感人的。


其中有一隊令我印象深刻，是來自北馬怡保的一所叫做三德中學的男校華樂團，
指揮是學生，也是全場樂團指揮唯一的一個學生指揮，
雖然說他的一些基本手勢還有可討論之處，但是大體上他的指揮動作符合樂曲內容，
樂段的銜接也非常自然，當然那一定是有＂高人指點＂，
但是看到那個指揮非常投入，因此團員也非常努力的演奏，
而忘卻了比賽的緊張感（雖然我有看到指揮手有發抖……不過誰沒抖過？！哈哈），


有的指揮技術很好，可是感覺他個人並沒有完全突入在音樂當中，
其實指揮出來的動作就會被影響，音樂的渲染力就會降低，
音樂的最終目的就是感人，技術也只是為了音樂而服務，
在新加坡獨奏賽及馬來西亞的合奏賽再次證明這點，
有的人演奏快速樂段，飛快的快，可是有時會讓人莫名，
這樣快是為了甚麼？我覺得快要快的有目的，
在快速段落中不單只是為了快，更重要的是情緒，
要造成緊張感？還是興奮感？有目的性的去做，那麼快才有了意義，
不然台上的人奮力的演奏，台下的聽眾也不會有太多的感覺，
頂多就是覺得「恩～技術很好，可是沒感覺……」，
而有的隊伍雖然演奏沒那樣快，但聽起來舒服，讓聽者投入，我想這就是最重要的目的吧～
音樂可以使人興奮愉快，同樣也可以使人潸然淚下的，端看你怎麼演奏。

看完兩地的比賽，想想自己，還有很漫長的道路要去走，
畢竟這種技藝的東西，就是要保持練習，
很高興自己學了幾年的指揮，有了幾年的帶團經驗，
也希望在異鄉能學以致用，將自己的所學貢獻出去，
當然更重要的是自己還要不斷努力的學習才是！！

By the way, just some info about the composer for chun yu.
he wrote many songs, one of which includes the set of 《北方民族生活素描》 meant for the 月琴.

from china wiki:
生于哈尔滨，1962年进哈尔滨歌剧院学习，1963年成为黑龙江省歌舞剧院乐团演员，1977年入中央音乐学院作曲系,师从黄飞立教授学习指挥。^[1]刘锡津常年居住在中国东北，所作作品有着浓郁的“黑土地”气息。80年代曾去中国西部采风，也对他的曲风产生很大影响^[2]。从2002年8月起至今，刘锡津担任中国中央歌剧院院长。

he's actually not bad! haha.
So, i suggest you guys stop complaining! Feel honoured to be playing a famous composer's work ;)

oh and Phoon Yew Tien's a pretty good composer who got known overseas too.
PYT
;)

Look, SYF for us is on 21st April.

How many days are we genuinely left with?
MINUSING THE TIME THAT WE GIVE YOU SO MUCH BREAKS?
SO MUCH FREEDOM? THAT YOU GUYS ABUSE IT?
Everyone's stressed, tired, whatever.
TELL ME WHO'S NOT?
YOU SELFISH PEOPLE.

To those who only cares about themselves, think again. We are an ORCHESTRA. And how are we portraying ourselves now? Individuals?

So what if you're good in the solo pieces, been in some prestigious primary school CO and even got good awards, grades. Does it prove of any standards when practicing as an ORCHESTRA?

Please, reflect on your actions.
As mentioned in the previous post by daohan, if YOU have understood our faults LONG AGO, I wouldn't be telling you people to stay back, and waste my saliva that i would rather talk to my baby nephew, would I?

Okay, so here's the few major problems.

Your Attitude, No matter whether you're on stage or not.
I really do not wish to see people slouching. It'll become a habit and will all be revealed on stage.
And please move to the music. Well I'm not forcing you to MUST move, but of course don't sit there like some piece of wood! PLUS, i do not want to hear an overproduction of noise. You guys are old enough to control yourself, play and do whatever thing at the APPROPRIATE TIME.

Next, I dont want to see people walking in and out of CO room like as if its YOUR HOME.
Whether the pin-pointed ones are reading this or not, I DO NOT wish to see people walking freely in and out of the room. ESPECIALLY WHEN THE MUSIC IS ALREADY ONGOING.
Do you know its really rude, to barge in and out like NOBODY'S BUSINESS?!

So make a point to go to the washroom before practice, or during given breaks.
Its becoming so often that its starting to make the teachers feel irritated already.

Lastly, your attendance.
Im really sick and tired of hearing people fighting for the attendance that they do NOT initially deserve. Want your attendance? Make a point to even COME.
Im not supposed to give you even a half attendance when you came in at 5? when practice ends at 6!
And sometimes, people come at 3, and can even leave abruptly at 4?!
Where's your respect for your teachers, seniors?
Don't you feel that you need to make a point to inform us of your whereabouts?!

What do you take us for? YOUR LEADERS OR YOUR ORNAMENTS.

I've spoken this for numerous times.
Reprimanded almost everyone for umpteen times.

What's the result? Nothing.
If you're talking about consistency, give it to me or your future leaders only AFTER you've attained a presentable result.


I can't be your hands to force you to practice, it's really up to you whether you want to make your own effort already.
We're just gonna leave right after SYF ends.


Don't have any regrets upon hearing the results.

With due respect and no harsh offenses to anyone, except for the guilty ones,
justin.

From the only practice we had at SCH for this year's Central Judging, these are some comments by our seniors...

Yu Ting
-Standard not very good
-Need to brush up skills
-Memorize the piece
-Feel the music
-All look like statues
-Learn to listen to others
-Don't concentrate too much on yourself
-Not different people playing different notes (Must sound together as a whole)
-Sounds bad

Alicia Pan
-Need more practice
-Guan Yue put in more hard work
-Mistakes obvious in choice piece

Loretta
-Songs are okay except some parts.

These comments are not to demoralize you but to encourage you to do something to all the weaknesses pointed out for you.

If you had realized these mistakes or short comings long ago, then you should become better by now.

Today's practice is quite perfect but there are still some parts not up to the standard. Although Guan Yue may not be doing well enough but we tried our best to squeeze out time for practices thus, please bear with us. We will practice hard and make sure that your contribution(s) to CO won't go wasted.